AKG 480's + ck61 and ck63's. Can probably easily score them on the used market for what you already have invested in your current mics and then some...

Or maybe just the caps and Nbob actives...

I've found the ck63s very hard to find lately as I have been looking for a set myself. 460s run about $150-175 each for a clean one and about $250 for a 460 w/ck61. Not sure about the 480s on market value.

I don't mean this to sound snarky or shitty, but are you sure you're getting everything you can out of your current mics? Making a great recording doesn't necessarily require expensive mics. Location/setup is more important.

That said, an essential piece of information is missing here: what do you find lacking in your current recordings?

I don't mean this to sound snarky or shitty, but are you sure you're getting everything you can out of your current mics? Making a great recording doesn't necessarily require expensive mics. Location/setup is more important.

That said, an essential piece of information is missing here: what do you find lacking in your current recordings?

Rich has been hanging around Team Philly long enough to know the venues and where the sweet spots are. I don't think that is an issue...

"Stepping up" could be overrated. Of course you'll find a lot of "Go Schoeps or go home" in this neck of the woods and in no way am I trying to dissuade you from trying something else. If I were you I'd try borrowing any sets of mics that you can. I've only owned two different mics, ADT a51s and AKG Blue Lines and I don't have anything bad to say about either so take that into account when considering my opinion. I'd be sure as happy to throw as set of SM57s in the air ti catch a show.

I'll advocate for AKG 390s. I like them and they're reasonably priced.

Logged

Pockets full of nickels and nothing left to eat, and I'm stuck behind a semi on Soniat Street.

I ran Schoeps for many years before I semi-retired from taping. Once I got back in the game I went for cheaper but what I'd consider still high quality mics. And again, it's all about placement.

There are amazing deals on Japanese-manufactured electret condenser mics these days. And it's an inexpensive investment to treat your ears to something different.

There's of course the Nakamichi CM-300 and 100 models along with their "clones", the Tascam PE-120 model and the Teac ME-120 and 80 models. All of those are practically being given away at times on eBay lately.

In general, if you're looking for the lowest cost for a high level of quality, you're in luck if omnidirectional mikes are your preference. Those are easier to design and manufacture to a given standard than directional microphones, so there are more satisfying options at relatively low prices. They probably won't be as close to the design spec or as well-matched as you would get from a higher-end manufacturer--but that's a somewhat less critical consideration with omnis, since you don't (normally) use them close together.

Next best bargain "tier" is cardioids. They're more complex than omnis to design and manufacture, but there's not much mystery left as to how to do that. That doesn't mean that all cardioids sound equally good when recording wide-range music--they don't by a long shot. The most common application (communication) drives most product design decisions, and it doesn't require the same qualities as music recording (e.g. extended low-frequency response, smooth high-frequency response, uniform polar patterns across the frequency range, wide dynamic range, low distortion). But one can find well-made, good-sounding cardioids for wide-range music recording in the medium price range; they definitely exist.

On the other hand, supercardioids, figure-8s, shotgun microphones and other "minority" patterns such as wide cardioids and hypercardioids are still technological specialty items. None of the low- or medium-price offerings in these categories are the near sonic equals of the top professional brands, and one shouldn't fool oneself about that. Again this is partly because the largest number of microphones by far aren't designed for wide-range music recording, since that's not what most people them for, and the qualities required for different applications conflict.

But the design, manufacturing and quality control requirements of these microphone types (or capsule types) are also considerably more difficult than with omnis or cardioids. Fewer designers and manufacturers know their way around in these areas, and the cost of manufacture and quality control is higher as well. You could take the best supercardioid microphone apart and look at it under a microscope (as all the clone manufacturers have surely done) but still not know how to make one yourself, except approximately--and the ones that you do make, you couldn't sell for highly competitive prices if you maintain high quality control standards and offer an active, supportive service infrastructure. So by and large, economic forces ensure that that doesn't happen.

I would go with a pair of AKG 460’s with ck61’’s or ck1’s. You will have several capsule options you can add down the road as needed....hypers, omnis, or shotguns they are flexible mics and sound great for a very reasonable price imo